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Excerpts from the novels, plays, and poems of the French convict, prostitute, and literary artist join notes from his film, The Penal Colony, letters, essays, and a rare interview, all edited by a contemporary biographer.
This comprehensive volume celebrates the legendary work of one of this century's most enigmatic, intriguing, and heralded writers by bringing together for the first time a generous selection of Genet's greatest work. Published to coincide with White's new biography of Genet.
The Criminal Child offers the first English translation of a key early work by Jean Genet. In 1949, in the midst of a national debate about improving the French reform-school system, Radiodiffusion Française commissioned Genet to write about his experience as a juvenile delinquent. He sent back a piece that was a paean to prison instead of the expected horrifying exposé. Revisiting the cruel hazing rituals that had accompanied his incarceration, relishing the special argot spoken behind bars, Genet bitterly denounced any improvement in the condition of young prisoners as a threat to their criminal souls. The radio station chose not to broadcast Genet’s views. “The Criminal Child” appears here with a selection of Genet’s finest essays, including his celebrated piece on the art of Alberto Giacometti.
The Sarah Kofman Reader is a comprehensive anthology of significant essays and book excerpts by the postwar French philosopher and theorist Sarah Kofman (1934-1994).
An essential selection of Moyra Davey's sly, surprising, and brilliant essays
Starting in 1970, Jean Genet—petty thief, prostitute, modernist master—spent two years in the Palestinian refugee camps in Jordan. Always an outcast himself, Genet was drawn to this displaced people, an attraction that was to prove as complicated for him as it was enduring. Prisoner of Love, written some ten years later, when many of the men Genet had known had been killed, and he himself was dying, is a beautifully observed description of that time and those men as well as a reaffirmation of the author's commitment not only to the Palestinian revolution but to rebellion itself. For Genet's most overtly political book is also his most personal—the last step in the unrepentantly sacrilegious pilgrimage first recorded in The Thief's Journal, and a searching meditation, packed with visions, ruses, and contradictions, on such life-and-death issues as the politics of the image and the seductive and treacherous character of identity. Genet's final masterpiece is a lyrical and philosophical voyage to the bloody intersection of oppression, terror, and desire at the heart of the contemporary world.
The remarkable and controversial study of the mind, life, and legend of Jean Genet
If anything marks the image, it is a deep ambivalence. Denounced as superficial, illusory, and groundless, images are at the same time attributed with exorbitant power and assigned a privileged relation to truth. Mistrusted by philosophy, forbidden and embraced by religions, manipulated as “spectacle” and proliferated in the media, images never cease to present their multiple aspects, their paradoxes, their flat but receding spaces. What is this power that lies in the depths and recesses of an image—which is always only an impenetrable surface? What secrets are concealed in the ground or in the figures of an image—which never does anything but show just exactly what it is and nothing else? How does the immanence of images open onto their unimaginable others, their imageless origin? In this collection of writings on images and visual art, Jean-Luc Nancy explores such questions through an extraordinary range of references. From Renaissance painting and landscape to photography and video, from the image of Roman death masks to the language of silent film, from Cleopatra to Kant and Heidegger, Nancy pursues a reflection on visuality that goes far beyond the many disciplines with which it intersects. He offers insights into the religious, cultural, political, art historical, and philosophical aspects of the visual relation, treating such vexed problems as the connection between image and violence, the sacred status of images, and, in a profound and important essay, the forbidden representation of the Shoah. In the background of all these investigations lies a preoccupation with finitude, the unsettling forces envisaged by the images that confront us, the limits that bind us to them, the death that stares back at us from their frozen traits and distant intimacies. In these vibrant and complex essays, a central figure in European philosophy continues to work through some of the most important questions of our time.
This collection of twelve essays by scholars from the USA, Canada, the UK and Japan, presents fresh perspectives on familiar Sartrean subjects and novel approaches to neglected ones. Divided into four equal parts – Aesthetics, Philosophy, Politics and Revolt – its chapters reflect both the eclectic scope of Sartre’s project and the dynamic attention it continues to attract. Moreover, this intellectual interest extends beyond the field of “Sartre studies” and across the generations, from established specialists to younger academics regarding Sartre from some surprising new angles: Pop-Art and jazz prove to be revealing prisms, as do dialogues with Dennett, Ilyenkov, Badiou and Genet, among others. In short, this is a book whose original essays make a lively contribution to the continuing critical conversation around the work of Jean-Paul Sartre.
An engaging and challenging introduction to Jean Genet, this concise biography of the French writer and his work cuts directly to the intersection of thought and life that was essential to Genet's creativity. Arguing that Genet's life was an extraordinary spectacle in which the themes of his most revolutionary works were played out, Stephen Barber gives both the work and its singular inspiration in Genet's life their full due. Abandoned, arrested, and repeatedly incarcerated, Genet, who died in 1986, led a life that could best be described as a tour of the underworld of the twentieth century. Similarly, Genet's work is recognized by its nearly obsessive and often savage treatment of certain recurring themes. Sex, desire, death, oppression, domination-these ideas, central to Genet's artistic project, can be seen as preoccupations that arose directly from the artist's travels, imprisonments, sexual and emotional relationships, and political engagements and protests. This trenchant volume focuses directly on the moments in Genet's life in which those preoccupations are vividly projected in his novels, theater works, and film projects. Genet's works have been hugely influential for a vast array of writers, filmmakers, choreographers, and directors, especially at moments of social crisis; thus Genet's life is not only at the root of his own work but also that of many important artists of the twentieth century. With its frank and illuminating introduction by Edmund White, Jean Genet gives readers access to this brilliant and brutal mind.